Film Reviews by AER

This BBC film drama is set in a dead end town in Aberdeenshire, Scotland and revolves around a young father's attempts to face up to his responsibilities. At an all-time low he contemplates running away from his family and hitting the road in his son's souped up hatchback car. He wants to take back the years when he was king of the road racers. Will he runaway or stay? What begins as a terminally bleak, angry story opens out into a story of hope and wisdom. Carried convincingly by a committed cast and some good car scenes, this offers more insight into the thrill of driving fast and the freedom of the road than 10 Vin Diesel films. Short, tough, but worth the ride.

8 out of 10

The other review comment refers to the Tartan release pictured - the one that I was sent is the updated Criterion Collection version with restored picture and audio. This is the first time I've seen Days of Being Wild and whilst it contains so many elements that I love about Wong Kar Wai's films, the main male character is such a turd that I couldn't relate to his fate. The reminder of the cast is less well-drawn yet more intriguing. For fans of this Hong Kong master, it's this film that you can begin to see the development of ideas that would become fully fleshed out in films like Happy Together, In The Mood For Love, and Chungking Express. This is second division Wong Kar Wai like My Blueberry Nights and 2046.

5 out of 10

This light 'fish out of water' comedy with an indie twist ends up being slight and a touch convoluted. It's still enjoyable, and it was good to see Billy Zane in a rewarding (and ambiguous) role for once in his life. Skateboarders, neo-punk groups, Las Vegas lights, pickup trucks; all modern Americana tropes are present and set the scene well for this story of a weird immaculate conception and a peculiar pair of runaways from a religious commune. It's ultimately very light and early hints at darkness never (thankfully) materialise. Much of the plot leans heavily into serendipity and quirks but I'm not mad at it, I'll struggle to remember it though.

6 out of 10 - Cool and breezy

Made in the early 90s, filmmaking styles have changed; what seemed like a subtle film at the time now feels clunky at times. However, if you make allowances for its age, this gem of a WW2 film has something unexpected to offer. It's message is received as a plea for introspection and humanity in the face of the ugly brutality of war. A Midnight Clear is a very unique and carries its novel origins on its sleeve. Elevated by good performances from a cast of actors that we rarely see on the big-screen anymore (with the exception of Ethan Hawke), at times it's a bit OTT or lacks authenticity, but then for long stretches, it shows us that it has real heart. The tragedy at the heart of the film really sets you off balance, and is upsetting as the best intentions of the characters get wrecked by nerves and bad planning. Back in 93 when this came out in the UK, it was barely released on the cinema but the press urged everyone to see it if they could find it. I've never forgotten it, and I'm glad that in the main, it still works the emotions.

6 out of 10 - Unique but slightly dated

Unlike the stoic, inscrutable Semetka, the corporal who ends up in charge of a unit of soldiers in a potentially hostile Hungarian village during ww2, this is an emotional journey. Through small humane acts, we get a front-row seat to the atrocities of war and how a sense of duty can clash with human decency. It's expertly wrought with clear and lucid cinematography, sound design, and a haunting atmosphere. Every face tells a sad story. The lead actor is amazing and considering he is a non-professional this is miraculous as you can detect so much in his performance from a look or his demeanour. Credit to the director, Denys Nagys who proves that he's one to watch. This reminded me of Come and See, and The Painted Bird; both are films about the inhumanity of conflict... The pace is measured but this doesn't rob you of your interest, there are lots of incidents and a strong emotional payoff.

9 out of 10 - Unforgettable.

Sweetheart is a Saturday night throwaway that is fairly toothless. It plays like 'my first horror movie' so innocuous are the thrills. It mostly works when the threat is a mystery and the lead character is on her own, but there's nothing new here. A spirited lead actress alone doesn't make this interesting. It's third division Blumhouse.

Charlie's Country shows Australia in a poor and honest light. It's insurrection and mistreatment of Aborigines in Australia is at the core of this moving, sad movie. The late David Gulpilil sores in a rare lead role that takes us on a journey that shows how 'locked out' of Australian society they are. It highlights the gulf between white and blacks showing that there's a long way to go before an accord of understanding can be reached. It's a crucial watch with an amazing performance at its heart.

10 out of 10 - One of the best Australian films of the last decade. Make sure you see it.

Achatipong Weerasthakul's latest film for much of it's second half evokes the feeling of being trapped in a long dream. Others will feel like they are locked in a screensaver or a boring waiting room. A botanist has moved to Bogota to be close to her ill sister, then she begins to hear a loud 'bang' inside her head that comes out of nowhere and happens infrequently. Why is this happening? We get several answers but none are confirmed, all of them make sense but I wasn't sure I had the patience to enjoy the series of long-static shots of the closing half-an-hour to reach them. If you've seen 'Uncle Boonmee Can Recall His Past Lives' then you know the style, and you're back for more - so there'll be no yawns or tears from you. Newcomers, drawn in by Tilda Swinton, and the fact that half of it is spoken in the English language may well get very bored, or want a film with a firm plot. The trailer makes this film look a lot more dramatic than it turned out to be, which will vex a lot a viewers.

Achatipong's English/Spanish language debut is very much in his style. Slow, dreamlike, mysterious. It was too languorous in pace for me but ultimately, it had a lot of doog reasons to see it.

6 out of 10

THAT..... was..... rubbish!!!!!!!!!!!! Woeful sequel in every way. Bad dialogue, bad acting, terrible SFX. Made the first one look amazing, which it wasn't.

At face-value Petite Maman could have been twee, but the tale of an eight year-old girl who encounters her own mother as an eight year-old in the woods near her late grandmother's house really is something special. Sidestepping sentimentally and corniness, this is a note-perfect piece of fiction that reminds us that we were all eight once, even our own parents. It's very relatable, calm, and completely convincing thanks to the lovely story, good script. and natural performances.

“Secrets aren’t always things we try to hide. There’s just no one to tell them to.”

10 out of 10

I left it too long to get around to watching Hellraiser. I should have watched this as an impressionable teenager. Now in my late 40s, it was all a bit little bit silly.

Clive Barker's debut film is very imaginative in with its visuals and easy-to-peel puzzle box, it falls down with the performances which are larger stilted - also, the script is all surface and isn't very good at all. So, it gets 2 stars purely for the 'look' and the really good practical effects - some of which are still impressive by comparison to what we're seeing in low-budget horror today in 2022. Points for Doug Bradley as Pinhead! He gets too talkative in a later films, in this film he still had mystery! An instant icon.

If only Hellraiser had good actors and a good script, it could have been something truly scary and awesome. It's neither.

3 out of 10

...it was still enjoyable. The plot has been done a million times before so there's no real reason for this female-led riff on Mission Impossible or The Bourne Identity... The action sequences are good but this film belongs in the early 2000s. It never aspires to be anything more than an expensive in-flight movie.

4 out of 10

Strewth, this comedy-horror from Australia follows in the footsteps of Black Sheep, whereas it works better in the funny bits than scary ones. The parts of the film set in the pub where the dodgy locals exchange stupid stories about a deadly monster pig in the bush are very funny, everything else is pretty shonky. Dodgy acting from the principal cast is only highlighted when the older pros like Ernie Dingo (The Fringe Dwellers), Chris Haywood (The Cars That Ate Paris), Steve Bisley (Mad Max), and from nominal lead John Jarratt (Wolf Creek / Picnic at Hanging Rock) turn up and show the rest how its done.

The action-scenes are long and repetitive, but the creature effects are pretty good. All-in-all, this is a Friday night throwaway and it should have been a lot more fun. 10 minutes of funny banter save this from being unwatchable....

2 out of 10

Although it's interesting to learn about the journey of Golden Age Rembrandt paintings in private collections, this documentary has no inner-life and didn't really enlighten me. It had fleeting moments of interest like the sections where the restorations and authentication tests were taking place, however, the constant preening of Jan Six dominated the documentary and all the money-grabbing controversy coverage was off-putting. More interesting were the philanthropists and the potential war between the Rijks and the Louvre when a pair of rare pieces came up for sale. It was a bit of a trudge as the drama was there, it's just the spotlight was cast upon the most uninteresting of the subjects. You could almost forget the focus of the documentary was supposed to be on Rembrandt and his art, and not the creepy, simpering Jan Six.

2 out of 10 - An expose of back-stabbing art-dealers in Amsterdam and beyond that focuses on ugly people and not beautiful paintings.

I haven't seen The Fly since 1989 on video and I was so grossed out I never went back until now. Nowadays, I have a stronger stomach and I have seen quite a few David Cronenberg films to be drawn back in.... After all these years, it's still astonishing from a creature FX POV. Jeff Goldblum and Geena Davis are both excellent, even though the script is whiffy - the plot is also overly simplistic and it could have done with a longer running time because Seth Brundle's (Goldblum) decline is too rapid to drum up real sympathy or horror.

Unlike so many other big 80s films, The Fly still works its magic where it counts.

6 out of 10